Beth Tsai
Biographic Data
| ID | 4216271 |
|---|---|
| NAME | Beth Tsai |
| GIVEN NAMES | Beth |
| FAMILY NAME | Tsai |
| SIGNATURE | TSAI B |
| AFFILIATIONS | Stony Brook University |
| ORCID | 0009-0003-7967-1463 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Taiwan New Cinema at Film Festivals
This book offers accounts of the film festival’s role in both commissioning and exhibiting films, examining film aesthetics influenced by directors’ diasporic identities, moving across different regions and nations, such as Malaysia, France, Japan, Myanmar, and Taiwan, to complement the scope of transnational cinema. The author adopts a revisionist approach to Taiwan New Cinema (first wave, 1982–89; the second wave, 1990 onward) and considers New…
Taiwan New Cinema at Film Festivals
Revisits Taiwan New Cinema in relation to film festivals from cultural, historical, and geopolitical standpoints Look at the productive roles women have played as discursive mediators of the cultural imaginary of the nation, the auteur, and the art of slow cinema Offers accounts of the film festival’s role in both commissioning and exhibiting films Examines film aesthetics influenced by directors’ diasporic identities, moving across different reg…
Of fleas and Parasite
This article argues that amidst the hype of Parasite fever, it is instructive to revisit Barking Dogs Never Bite (2000) in order to better understand the director's aesthetic and signatures. Not only does Parasite (2019) echo Bong's debut feature in narrative structure and visual style but both films depict the friction between power and the powerless through spatial metaphors. By offering a closer look at Barking Dogs Never Bite from an interdis…
The Many Faces of Tsai Ming-Liang
The Malaysia-born, Taiwan-based flmmaker Tsai Ming-liang's Visage (2009) is a \nflm that was commissioned by the Louvre as part of its collection. His move to the \nmuseum space raises a number of questions: What are some of the implications of \nhis shift in practice? What does it mean to have a flm, situated in art galleries or \nmuseum space, invites us to think about the notion of cinema, spatial confguration, \ntransnational co-production an…
The Many Faces of Tsai Ming-Liang
The Malaysia-born, Taiwan-based flmmaker Tsai Ming-liang's Visage (2009) is a \nflm that was commissioned by the Louvre as part of its collection. His move to the \nmuseum space raises a number of questions: What are some of the implications of \nhis shift in practice? What does it mean to have a flm, situated in art galleries or \nmuseum space, invites us to think about the notion of cinema, spatial confguration, \ntransnational co-production an…
The Many Faces of Tsai Ming-Liang
The Malaysia-born, Taiwan-based flmmaker Tsai Ming-liang's Visage (2009) is a \nflm that was commissioned by the Louvre as part of its collection. His move to the \nmuseum space raises a number of questions: What are some of the implications of \nhis shift in practice? What does it mean to have a flm, situated in art galleries or \nmuseum space, invites us to think about the notion of cinema, spatial confguration, \ntransnational co-production an…
Taiwan New Cinema at Film Festivals
This book offers accounts of the film festival’s role in both commissioning and exhibiting films, examining film aesthetics influenced by directors’ diasporic identities, moving across different regions and nations, such as Malaysia, France, Japan, Myanmar, and Taiwan, to complement the scope of transnational cinema. The author adopts a revisionist approach to Taiwan New Cinema (first wave, 1982–89; the second wave, 1990 onward) and considers New…
Taiwan New Cinema at Film Festivals
Revisits Taiwan New Cinema in relation to film festivals from cultural, historical, and geopolitical standpoints Look at the productive roles women have played as discursive mediators of the cultural imaginary of the nation, the auteur, and the art of slow cinema Offers accounts of the film festival’s role in both commissioning and exhibiting films Examines film aesthetics influenced by directors’ diasporic identities, moving across different reg…
Of fleas and Parasite
This article argues that amidst the hype of Parasite fever, it is instructive to revisit Barking Dogs Never Bite (2000) in order to better understand the director's aesthetic and signatures. Not only does Parasite (2019) echo Bong's debut feature in narrative structure and visual style but both films depict the friction between power and the powerless through spatial metaphors. By offering a closer look at Barking Dogs Never Bite from an interdis…
Art (4 works) · Hong Kong and Taiwan Politics (4 works) · Art history (3 works) · Asian Culture and Media Studies (3 works) · Japanese History and Culture (3 works) · Movie theater (3 works) · Visual arts (3 works) · Aesthetics (2 works) · Archaeology (2 works) · Gender Studies (2 works)